CloseUp: Dawn Akemi

Raised in Hawaii, Dawn Akemi lived in Washington DC, Seattle, and Minneapolis before settling in Los Angeles. Her career path includes Certified Public Accountant, Sales, Chef, Artist, and, most beloved, Acting. She has been acting for over a decade on stages in Minneapolis and L.A., including The Cast, The Interact Theater, The Raven Playhouse, and Art/Works Theatre, with experience ranging from experimental and physical to classical and comedy.

Her film credits include Dungeons & Dragons: Wrath of the Dragon God. Dawn is a big believer in ongoing actor training and has studied Meisner, Method, Improvisation, Grotowski, Chekhov, Suzuki, Viewpoints, Voice, Movement and Dance. When Dawn is not ardently pursuing craft and career, she loves to cook, design jewelry, and knit.

You can view more pics as well as Dawn's resume at actorsaccess.com/DawnAkemi. She's also listed on IMDb.

Currently, Dawn plays the lead in a short film showing at the On the Lot website, a contest/reality show for filmmakers, produced by Steven Spielberg, Mark Burnett, and Fox Network. It is a 5 minute short, called "Hammer" with a 40 sec. intro by the director.

CloseUp: Harrison Brown

Harrison Brown is a filmmaker, improviser, and sketch comedian in Los Angeles. Harrison began doing comedy and improv in high school and created the popular cable access comedy/variety show called Road Closed. He has been studying and performing at the Upright Citizen Brigade Theatre since the Los Angeles theatre opened. He can currently been seen on the UCB Harold team, MacGuffin and on a UCB Maude team. Harrison is also a frequent performer and writer for Sketch Cram!

Harrison is currently in post production for the independent film The Treasure of Big Bear Mountain, in which he acted, co-directed, and co-edited with Justin Donaldson. The film is completely improvised with UCB performers. Harrison has also written several feature length screenplays. His work has been shown at film festivals across the country.

Harrison is also currently a videographer and editor for UCBComedy.com.

Jonathan Smith and Harrison are also co-founders of TNT: Tuesday Night Thunder, where UCB students and veterans can book stage time to bring improv thunder! He also co-hosts the TNT Jam! To learn more about TNT: Tuesday Night Thunder visit: www.myspace.com/tuesdaynightthunder

Tips To Protect Your Child Actor

Getting your child into the acting business can be lots of fun for both you and your child. As your child gains more and more fame, it will become more and more apparent that you need to protect their welfare. It's a crazy world out there, and even young children can acquire rabid fans and stalkers.

Here are some tips to help protect your blooming star: Most of these items involve common sense, but you will be surprised how easily they are forgotten when your child has a chance at stardom.

Keep your wits about you and remember your number one priority is the welfare of your child, not booking the part. Don't look for agents in the mall. If you get a flyer asking you to bring your child to the mall to meet with a talent manager, run the other way. Many of these companies make their money by charging outrageous fees for photographers and showcases. They thrive on signing hundreds of kids, hoping one of them happens to make it big.

Do your research. Never stop learning about the entertainment business. Read books on child actors, auditioning, acting technique, and biographies of former and current child stars. Attend workshops and seminars in your area. Stop using your child's social security number on their resume. It use to be commonplace to use a social security number on a resume so producers, directors and casting directors could refer to you as a number when you went in for an audition. This is no longer the case. When your child signs in for an audition, there will be a spot for their SAG number. If they are not in the Screen Actors Guild, leave the box empty or ask the receptionist if they can use another number.

Change your phone number. Once your phone number is listed, it will remain in online directories and even print directories for a long time. Simply changing it to be unlisted will not stop people from finding it out and calling you at home. Obtain a new number and keep it unlisted. Check your child's fan mail carefully. Once your child has appeared on a TV show or in a movie, they will start to get fan letters. While this may seem neat at first, you must be careful when allowing your child to read the letters that come in. Look over the envelopes carefully and note strange addresses. Letters from prisons oftentimes are marked "Inmate Mail" or may have a strange address that looks like a P.O. box.

Avoid leaving comments on fan web sites. While at first it may seem cool to see a web site dedicated to your child, avoid contacting the maker of the site or leaving feedback in a guestbook or forum. Your computer information can be tracked fairly easily, allowing them to get even more personal information.

Take your own digital cards to your photographer. When it is time to get your child's photographs done for their portfolio or comp card, ask if you can bring your own digital card for the camera. If the photographer still shoots on film, make sure that their session fee includes giving the negatives to you. By protecting the raw images of your child, you will help prevent their likeness from showing up on online auction sites tomorrow or in years to come.

Audit an acting class. Instead of shelling out the full fee for an acting class ask the instructor if your child can audit their class. Most will say yes. You should be skeptical about those who will not allow your child, and a parent, to sit in on a class or two. Provide a support structure for your child.

During the course of your child's career, they will be turned down many times for different reasons. It is important to have both internal and external support mechanisms for your child to turn to when they need to talk or vent their frustrations. Register your child's name as a web site domain name.

As soon as your child books that new commercial, TV show or movie, register your child's name as a "dot com" immediately so nobody else can steal it out from under you. Registration services are under $10/year at most places, so it will be a cheap investment in your child's safety.

[More info at www.bestagencies.com.]

Building Your Actor's Makeup Kit

By Sue Redman

Every beginning actor needs a basic makeup kit--you'll want to enhance your own image with the right shades and styles. After you get started with the basics, you'll add your own specialties, experimenting with effects and makeup types. But for now, the basics! First, find an appropriate box for your things. Lots of people use a small tool box or a fishing tackle box. There are boxes available from various makeup companies (Mehron is one) but they tend to be a bit more expensive.

Now, fill your box. Most actors select five foundations. With Ben Nye, you have three choices of type: crème, matte, cake. The crème is the easiest to start with and it blends with the other crème rouges, highlights, etc. Matte is great if you are in film, because its texture does better under those lights. Cake is water soluble, so it can wash off with soap and water and doesn't need powder for setting.

After you have selected a type, you'll find your shades. One should be closest to your skin tone. Next get one which is two tones lighter, and another two tones darker. These will subtly vary your characters, but still look natural. You'll want a sallow tone to produce an old age effect, and a specialty tone, for whatever you are likely to need--clown white, rosy tone for sunburn effect, yellowish tan if you do cats, etc.

Highlight comes next--it comes in lots of shades, but we think that one off-white highlight will be enough to start. It will help create lots of effects, and will blend into your foundation nicely.

Shadow is the opposite--start with two, one in red-brown and one in grey-brown. These help define facial structure such as cheekbones.

Cheek rouge--select at least one, in a tone which coordinates with your basic foundation.

Powder is necessary to set your crème or matte foundation. Start with a translucent shade, so it won't disguise your foundation color. Ben Nye also has several non-translucent skin tones, which define your color, and you should check out the fine quality of their luxury poudre choices, as well.

Eye makeup: Your eyes are the most expressive part of your face, so it is worthwhile to choose makeup carefully. You'll want pencil eye liner, shadow and mascara. Plan on a couple of shades of each one. Later you can experiment with glows and fireworks, as well as various colors for your shadows.

Lips are usually outlined with a lip liner for stage, then filled on. Lipstick or crème lip color can be used, also. If you are an actor, you should try to have at least two distinct shades, so you will be able to switch characters quickly.

Basic tools: a pack of latex sponge triangles, which are discarded after use; powder puffs, a variety of sable brushes. You might want a mixing pallet for creating shades for various characters.

Ben Nye has a product called Final Seal, to spray over your makeup before you hit the hot lights. It keeps your makeup from running and sweating down your face, and is useful for anyone who has to depend on his makeup for several hours, in any weather.

Cleansers are very important--failing to do thorough skin cleansing can cause real problems for the actor. A brush cleanser is also essential.

You'll also need some spirit gum and spirit gum remover--this attaches facial hair, minor prosthetics, etc.

Next, leave a little space for an old t-shirt--we like to have them slit up the front so they are easy to put on--it will protect your costume while you apply the makeup! A few scraps of soft fabric come in handy, too.

You'll make lots of decisions that affect your career in different ways--your makeup decisions will be major in determining your career image!

[Sue Redman is costumer and owner of Costumes Galore in Orange, California.
Her website is www.costumesgalore.com.]

Drunks On The Set

By Stephen Schochet

As long as actors stay sober on the set, movie studios will generally put up with their off screen behavior. Colin Farell often showed up at six in the morning to work on Swat (2003) so hung over from an all night bender that his bodyguards would carry the nearly unconscious Irishman into his trailer. His co-star Sam Jackson was constantly amazed that the young actor was on time, knew all his lines and was totally professional.

In earlier days before drug testing made it difficult for studios to insure actors like Robert Downey Jr.( known to be just as professional on movie sets as Farrel) the film industry had more tolerance for drunkards. During the making of Abbott And Costello Meet Frankenstein (1948), Director Charles Barton put up with Costello's antics which included starting a pie fight with Dracula (Bela Lugosi), putting a leash around the Werewolf (Lon Chaney Jr.) and walking him around Universal Studios, and pelting ad-libs at Frankenstein's Monster (Glenn Strange) so the creature kept laughing and ruining takes. A bigger concern was Bud Abbott who would get so sloshed by 2pm that he was incapable of shooting for the rest of the day. Abbott later explained that when he was young, a doctor told him that if he didn't stop drinking he'd be dead by the age of thirty. The straight man was so worried about the diagnosis he stayed drunk for the next forty years.

Another classic alcoholic was the British actor Robert Newton (1905-1956) who once got so inebriated he showed up to the wrong movie set. The happy producer put the big star in four scenes until people from the movie he was really supposed to be in came to haul him off. His reputation eventually made it difficult for him to find work. Producer Mike Todd interviewed Newton for the film Around The World In Eighty Days (1956). "Your friend David Niven says you are a big drunk." "My friend Niven is a master of understatement." Newton agreed to stay sober during filming and kept his promise.

If you give up drinking you can get something in return. When Lucille Ball was negotiating with CBS to turn her radio show into I Love Lucy (1951-1957) she was surprised to get a call from a character actor she knew named William Frawley. "I hear you need someone to play your landlord." Lucy was in a quandary. She was from the old school where you help your fellow actors out if they are down on their luck. But Frawley was a well known drunk. She suggested he talk to her husband Desi Arnaz Frawley promised Desi he'd never miss time due to drinking. But could Frawley who was an avid baseball fan have time off if the Yankees made it to the World Series? Desi later regretted giving in to Frawley's wishes, in the fifties the Yankees made it to the Series almost every year.

Sometimes a director could turn an actor's drunken behavior against him. When John Huston was ready to shoot the first scene in Heaven Knows Mr. Allison (1957), on location in the South Seas island of Tobago, he sent an assistant director to get star Robert Mitchum out of his tent. Mitchum showed up four hours later explaining that he and the AD had got started drinking scotch and the poor man was unconscious back in the tent. Huston smiled," That's ok Bob. Now let's shoot the scene where your character, the marine floats into the island unconscious on the raft." Mitchum spent the next four hours suffering in the blazing tropical sun as Huston sitting comfortably in the shade ordered retake after retake. The actor was on time from then on.

But who was the most notorious drinker of all? The Swarm (1978), a disaster film about killer bees, featured Michael Caine, Henry Fonda, Ben Johnson, Slim Pickens and Fred MacMurray, definitely some guys who knew something about putting them down. One day they were joined for lunch at the Warner Brothers commissary by the quiet Olivia de Havilland. There were complaints that no booze was being served. "That's because of Errol Flynn (1909-1959)", said de Havilland. "He used to get so drunk he couldn't work so Mister Warner said no more booze." The men wanted to hear more about the famous swashbuckler. "Oh my God, Errol was something. Do you know he once got so drunk he wagered a film crew $500 that he'd have his way with me." The men could see she was a lady and the incident must have been embarrassing for her. Olivia grinned mischievously "Oh it was, it was. And you see that table over there. That's where he won his bet!"

[Stephen Schochet is the author and narrator of the audiobooks Fascinating Walt Disney and Tales Of Hollywood. The Saint Louis Post Dispatch says," these two elaborate productions are exceptionally entertaining." Hear RealAudio samples of these great, unique gifts at hollywoodstories.com. orgofhlly@aol.com.]

The Secret Formula To Getting An Agent

By Ronald K. Armstrong

Today I want to talk a about getting an agent. It is perhaps the most important thing on the minds of artists. Yet, despite all the interest, it is perhaps the one area least understood.

In my lifetime, I have gone through a number of them. But the question should never be how do I get an agent; but more, "How Do I Get A GOOD agent?" Agents are a dime a dozen. Most are overwhelmed with clients. So if you happen to sign with one of those, you'll be another name in their client book. Even Spike Lee admitted that when he signed with William Morris they never called him for work.

So let's throw out the idea of getting one for the sake of just having one. Sometimes, believe it or not, a smaller agency that really believes in you can do more for you than a big-time agency. And as with any agent, it takes time to build up rapport and trust. As I said, because they have so many clients YOU need to stand out. Opening the channels of communication is the best place to start.

What bothers me is the fact that actors walk around with the notion that if they get an agent, all their problems will be solved. The agent will send them out on calls or get them studio work, etc. It doesn't work that way. Agents want actors and writers who are going places. If you are sitting back complaining, "If I only had an agent things would be different," then you need to get out of this industry. Why would an agent want anyone not willing to put the time and effort in, on their own, for the advancement of their career? Think about it.

Who wants to work with a lazy person? If you want a good agent, then you have to get their attention. If you are out there getting work on your own and making a name for yourself, then the agents will come to you. Trust me on that. After I did my first feature film, one of the biggest agencies in Hollywood, International Creative Management (ICM), called me! The best part about that is, if you have demonstrated that you are a hot commodity, then you may have more than one agency after you. So you'll have options and won't necessarily have to sign with just the first one that comes along. But on the other hand, if you are sitting at home eating potato chips and watching "Family Guy," then it is going to be really hard to get any agent's attention, good or bad.

It's your career. You have to treat it like a business. If you want a certain agency to represent you, then you have to bring something to the table. What is your body of work? What do your resume, reel, writing samples and or portfolio look like? Don't just have this magic idea in your head that your agent will put all that together for you. Sure, there are agencies out there that will sign you just because you have a dynamic look. But don't hold your breath on that one!

You should also build a list of names of every agent out there. Get to know them as if they were your personal friends. In LA there are certain restaurants, department stores and events they frequent. You should make it a point to frequent them as well. Some time ago, I attended an event in New York where I happened to run into a very famous director. The next day I had to fly out to LA to attend another event. Guess what? That same director was there as well. He was so surprised to see me that we become friends. He called me Mr. Jet Setter because it seemed I was bi-coastal. He even tried to help me get financing for my first film!

So, I want you to start thinking in terms of getting things moving on your own. Hit those auditions. Build your reel. Take your acting classes. Write more than one screenplay. Network with everyone in the business. Send out a press release. Put yourself on the radar screen! If you are truly working hard, I guarantee you an agent will find and discover you! Opportunity meets preparedness. Peace!

[Ronald K. Armstrong is a noted filmmaker and author. He is president of the RKA Cinema Society, an organization dedicated to helping aspiring filmmakers and actors. Mr. Armstrong is also creator of the revolutionary Kamitic Acting System.

How To Get Steady Work In The Film Industry

By Ronald K. Armstrong

Today I was in high demand. I've been running around doing pitches and presentations. It's great to have the phone ringing constantly. In fact, as soon as I got out of one pitch session I got a call from another company who luckily was just around the block. So I ran right over to them.

After I was finished then I had to jump on a train to head downtown to meet with a major media company who is developing video for the Internet. They are doing some really incredible things. But this article is not about me it's about you. I want you to know that I am committed to helping you achieve your goals and YOUR DREAMS! That's right; we all have dreams in this business. Never give up on them. One of my dreams was to bring back the ancient form of acting. And thanks to the all mighty creator I am now able to teach the most powerful form of acting out the Kamitic Acting System.

Now, I am able to touch people's lives and help them get moving. With that said let's talk real quick about you getting work. As I have said it's great to be in demand. The industry is about cycles but you can whether the storms if you have what I call "Peripheral Skills". What this means in a nut shell is to be multi-talented. Don't just focus on one thing try and have a secondary skill set. Not long ago I met the most incredible actress who now stars in her own TV show. Not only is Dana a kick butt actress but she can create awesome websites AND can even draw the most amazing things. She is truly gifted. Aside from her TV show, she is always working. Her phone rings so much I can hardly get a minute with her.

I want you to understand that this should be the norm for folks like us. There is a certain sense of power and pride that comes from knowing you get can any job out there. When I interview with companies it is always from the perspective of YOU NEED ME MORE THAN I NEED YOU! To paraphrase Paris Hilton, "That's hot right?" So you are probably wondering how to do this. How to you become a hot commodity on the market. Well, first you have to understand that no matter what your field is you CAN be the one they want! No matter if you are an actor, filmmaker or writer. The real secret to this is to diversify your efforts while staying in the same industry.

For starters you should have more than one resume. Each resume should highlight a different aspect of your talents. If you are an actor then you should have many different headshots and not just two which is the conventional thinking. Having different resumes and targeting different positions and companies will without a doubt keep food on your table. My friend Charles started out as an indie director. The guy struggled to put food on the table and finance his films. Then all of a sudden he found that he had an interest in cinematography. From there he started purchasing his own equipment and shooting stuff on the side. One day he got call out of the blue from a small production company. They saw his work and wanted to hire him to DP their commercial! From there on end the work started rolling in.

Charles even got a full time job teaching film. So the point is to be versatile. Become a jack of all trades. Of course have one main target goal but have peripheral goals and objectives in mind. In our organization, the RKA Cinema Society, every member is encouraged to have cross-functional careers. The type of narrow minded, one dimensional, do or die attitude can put one in the poor house real fast. Peace!

[Ronald K. Armstrong is a noted filmmaker and author. He is president of the RKA Cinema Society and creator of the revolutionary Kamitic Arts System.]

Agent or Manager?

By Sacreeta Veneficus

What is the difference between a manager, and an agent? Glad you asked. It’s quite simple really.

A manager offers a service to you that entails zoning in on your strengths and weaknesses. They can direct you to the type of acting classes you need, according to your current skill level. They can help you rehearse, support you in your goal setting and point you in the right direction, especially when you are so overwhelmed you aren’t sure where to start.

An agent finds and books you auditions. They hunt down casting calls, make bookings, negotiate the contracts, and basically do the leg work for your career. They normally charge 10% of what you are paid, and at the end of the day, that’s fair. If you have both a manager and an agent, it’s OK for them to know about each other. Having them develop a relationship centered on your career actually strengthens your chances at success.

One neat trick in obtaining a good manager or agent is to send out invitations to one of your productions. In standup comedy or theater, you’d be surprised how well that works. It’s also good to have agents hear about you through referrals. If you are in a production, or have done some good work for a casting director, networking with those contacts might be another great way to go.

An agent-client relationship is mutual. They require something from you, in the form of marketable talent, and you require something from them: marketing your talent. Having an agent speak your language, meaning that you both have the same goals for your career, is prudent. Just try to keep it in perspective: you are the hirer, who enlisted them to fulfill the duties necessary to handle your career, and they work hard, and get paid when you do.

Getting an interview with an agent or talent manager doesn’t necessarily mean they will take your career in their capable hands. You have a window of opportunity to convince them that if they find you work, you won’t let them down. Be punctual and polite, keep any "artist attitude" in check, have an 8x10 head shot, and don’t forget to have your resume, with the list of credits, if any, in hand ready to be discussed.

Before walking in there, have a mental note of what it is you are looking for in an agent, and in your career. Have realistic expectations. If you have no experience, don’t walk in their office feeling disappointed they haven’t told you they will make you a star. That is something a dishonest agent would tell you, and you need honesty. Always remember that if you are starting out, expect to be treated as a rookie. It's not disrespect, it’s honesty. And hiring someone honest is far better than someone who will leave your portfolio filed under D, for dust collector.

Don’t forget to consider if you are ready for union or non-union work. It’s important to be clear on that aspect. Newcomers who try to work into the union too soon often have a difficult time, as they can no longer have the luxury of taking on non-union jobs to build up credits. Union workers get jobs based on credits mostly, and taking the plunge is a great idea after you have become established.

Gaining agent or manager representation is something not to be rushed into. Taking on the first agent who comes along could be as risky as buying the first second-hand car you were offered. While an agent isn't a used car, the hunt is very similar. You want to kick the tires, see how many miles are on it, what its performance is like. Agents are pretty much the same. It PAYS to check them out before you make any deals with them. Here are a few links where you can find an agent and check their credentials.

LINKS

AGENTS:
www.agentassociation.com
www.sag.org

MANAGERS:
www.talentmanagers.com
www.ncopm.com

Don’t be afraid to compromise with an agent. They are in the business to help you, as helping you at the end of the day helps them. If they suggest you get a better headshot or take some acting classes that's fine, as long as they aren’t dictating which photographer/school you must attend. If they try to specify, be careful. They could be scamming you. A good agent could suggest a few reputable schools, or YOU could suggest to them that the Kamitic Acting System is one they should be suggesting.

Take their advice seriously. If they want you to take a job you feel is beneath you, and your wonderful talent, try to see it from their point of view. If you are new, they have actors more qualified than you, and there’s a reason they are more qualified. Keep doing the work offered, and soon you will be one the more qualified actors with plenty of credits to your name.

Before, during and after obtaining an agent, do one thing: work. Take all the work you can get! It doesn’t matter if it’s a student film, theater, commercials, videos, non-union (if you are not union yourself), or anything else. Attend acting classes, hone your special skills, like dancing, singing and projecting, and grow your image by nurturing your resume.

Don’t constantly bother your agent! Don’t call them several times a day to check in to see if anything new has popped up. They aren’t going to have time to find you work if you keep them busy telling you that they are trying to get you off the phone to find you work.

Next, be sure to have a set time when you can meet with your agent by phone or in person. Keep them updated with the NEW things you have been adding to your resume, as you work and take classes. They will be impressed by how hard you work, and how dedicated you are, and will be excited enough to keep up the good work on your behalf.

Lastly, a reminder that in this business, not everything or everyone is as they seem. There are scammers not only online, but in offices and on movie sets. Always remember to be alert. If you are in an office that has its walls filled with photos of famous people, and it is in a run-down building that ought to be condemned, chances are it’s too good to be true, and it’s time to keep looking. If they ask you for upfront fees, thank them so much for their kindness, leave, and throw their business card in the nearest trash can. If they guarantee they can make you a star, toss that card, too.

And lastly, and I cannot say this enough, always check them out. Look on the links provided above, do runs on their names, go on actors' blogs and ask if anyone has worked with them. Check out their credentials. You do not want to sign a contract with them, to make you sit on your hands for 2 years or more, when they don’t intend to move your career.

Peace and Love,
-Sacreeta

[Sacreeta Veneficus is the Senior Staff Writer of the RKA Cinema Society, Bronx, NY.]

Acting Isn't A Bed Of Roses!

By Eve Pynoei

Is the world your stage?

The life of an actor involves long periods of unemployment, intense competition for roles, and frequent rejections in auditions. They need formal training through a university though some of them do get roles on the basis of their experience and talent alone. They have to hold other jobs to supplement their erratic incomes.

Actors strive to deliver flawless performances. Their job is to express ideas and create images in theater, film, radio, television, and other performing arts media. They should be physically fit and have the necessary stamina and coordination to move about theater stages and large movie and television studio lots. Actors need talent, creative ability, and training that will enable them to portray different characters. Experience in horseback riding, fencing, or stage combat are add-ons that can get them early recognition amidst fierce competition.

Acting as a career is for those who love it passionately. If you're passionate about acting then it is certainly worth the time and effort and any sacrifice you make for it seems worthwhile. You will perhaps have to take a part-time job to pay your bills while you pursue your acting career or work evening hours to leave the daytime hours free for acting auditions and classes to further your acting training. During these taxing times it's only your passion that can keep you going and striving to improve your acting skills.

Nothing short of such dogged perseverance will do for making an acting career a success. It is not a smooth career, even for the best actors and actresses. You have to learn to take the punches. You have to learn to handle rejection. And at the same time, you have to go on trying and not accept no for an answer.

Many professional actors rely on agents or managers to find work, negotiate contracts, and plan their careers. Others rely solely on attending open auditions for parts. Trade publications list the times, dates, and locations of these auditions. If you are thinking of becoming a professional actor, you should start getting practical experience to build an acting resume and get involved in lots of local community, school and church plays. Go to as many auditions as you can. If you don't get a part in a play, then volunteer to help on the stage, costume, set design or lighting crews to gain experience in how the performing business works.

But if you truly love acting and you can take the ups and downs that go along with an acting career in your stride, then you should put in your best to make a success of it. Get the training in a college and study drama or get a private acting coach. In the end, the rewards that come from an acting career are worth the struggle, provided you're made of the right stuff.

[Eve Pynoei is the administrator of AA Acting which is a valuable resource for up and coming actors and actresses. For more information go to: www.aacting.com.]

How Do You Start a Career in Acting?

By Francois Botha

Becoming an actor is something that a lot of people are interested in, but you few actually pursue.

The fact of the matter is that if you want to break into this industry you are going to have to put in a lot of time and effort. But with that being said, hard work can do a lot for your acting career.

When you combine hard work with a few of the proper steps you may be able to realize your career as an actor or actress sooner than you ever thought possible.

So how do you go about starting an acting career? The first step that you must take is moving to the right area of the world. The fact of the matter is that if you want to be an actor you need to live in the areas that are famous for this. For instance, Los Angeles and New York are what you want to be if you live in the United States. This is where the majority of jobs are, and if you live in one of these two areas you will be putting yourself in good position from the start.

Next, you will want to get together your portfolio. This will include information on yourself such as past experience, as well as some photos that you can send out if need be. You may even want to look into getting an agent who can help you out along the way. He or she knows when jobs open up, and can in turn give you the inside scoop.

No, you do not necessarily need an agent to break into the acting business, but it can definitely help.

Finally, go on as many casting calls as you can. Getting into acting is nothing more than a numbers games. If you go to enough casting calls you will eventually get a job. And when you get one job it will likely lead to another and so on.

Breaking into acting is not easy, but at the same time it is not impossible.

[Francois Botha is the author of career descriptions. He has compiled a list of careers with all the information you need to make career choices.